Inspiring sentiments and all-consuming instrumental grooves present a clear sense of focus and artistic evolution. The latest project from the devoted composer and creative Zkrrt depicts a profound level of awareness from a passionate artist, underlining the value of an audience in-line with that of self-reflection and realism as a modern songwriter.
In example, the catchy and exotic, genre-fusing single WHO ARE YOU? is a mesmerising earworm, and so smoothly produced that the music works its magic in a timeless and powerful fashion at volume.
More impressively, however, the full-length album GOING TO MARS builds further on this level of exploration and growth, and presents 13 original tracks that are anything but basic and predictable.
From the outset, Zkrrt sets up an alluring balance of eighties synth-rhythms and delicate vocals. The lyrics offer short lines, catchy and gentle, imagery walking us through the pages of this story. Then there’s a passionate falsetto shift, and a huge drop for the chorus – a sudden anthemic vibrancy elevating an already engaging modern track.
Think RnB meets soul-pop and power ballads, but with a twist of instrumental charm and conceptual wonder to help effectively fill any gaps. Contrast is masterfully employed, and this creates a cinematic embrace that holds tightly to your attention, and takes your emotions with it on this colourful roller coaster of moments.
That use of contrast is key to the highs and lows of GOING TO MARS. Consider the next steps through an intimate and near-acoustic Drank Your Silence, and again, the sudden shift to a more lyrically dense hook – an outpouring that’s addictive to listen to, and a twist of oriental melodic resolve that naturally raises the soulful appeal of the performance. This track is distinct and moving – world-music meets modern soul-pop and storytelling that’s revealing and poetic.
Next we get a brilliantly uplifting earworm of a pop gem, in the form of the rather perfectly crafted FLICKER IN THE CROWD. Both emotionally impactful and something of a nostalgic floor-filler, this distinct and comforting crowd-pleaser is loaded with moments of all-together-now escapism, as well as some unexpectedly funky guitar work.
RnB and soul inspires much of the vocal work throughout GOING TO MARS, but stylistically we get instances of pop, rock, disco, funk, all carefully intertwined when relevant.
Finally Free is all of this at once, something like Teddy Swims collaborating with Bruno Mars and Mark Ronson. Then out of nowhere, the old school twinkles of a ballad allow Don’t Let Me Fall to lead with vulnerability and hope. As ever, the songwriting holds closely to the known building blocks of timeless hits, and still the musicality remains creative, unpredictable, and ever-evolving.
Consider the distorted funky rock tones of WHERE ARE YOU GOING, infectious and euphoric, and perfectly placed within the album’s set-list – an almost country-like vocal verse again blending genres. The production is playful but effective, and the eclecticism keeps you keen to lock in, whilst making sure to adhere to these evocative and relevant themes.
Stop Lying To Me moves with a female vocal, breathy and spacious, subtle chords alongside – something quiet and contemplative at just the right time. Then for MIDNIGHT, funky floor-filler escapism recaptures the disco energy and passion, and Lucky Loser takes that further still, with a daring live-band aura, memorable title, and a vintage groove that’s soulfully addictive.
Arrangement always matters, and the energy and bounce of previous moments seems ideally followed by the fearless realism and pain of I FELT REPLACED. Then after this, the rolling bass-line and quirky imagery and character of You’re Starting A Fire delivers something fresh and funky once again.
With Zkrrt’s previous albums, there was something of a new-starter vibe to many of the pop-like arrangements and songwriting transitions. In my view, this latest project has completely overcome that, showcasing a defiant attention to detail and mood that’s intoxicating from one track to the next. The original style and inspiration remains, the reasons for making music stand tall, but the focus, the understanding, and the willingness to move an audience, have only let the style and sound grow stronger and more alluring.
I DON’T CARE is the album’s penultimate track, a funky pop power song with retro gamer-tones and snappy, cinematic breaks, as well as a huge and catchy hook. Then to finish, Zkrrt returns us to this theme and idea of GOING TO MARS, and it’s nothing like you’ll be expecting. Enter a massive set-up of tribal drums, multiple vocal shouts and melodies, stop-start grooves and fuzzy bass work. GOING TO MARS is intensely energising, both electronic and acoustic on the rhythmic front, and something like tribal dubstep ignited by a performative flair and descending dance riff that’s enchanting, and unignorably joyful.
A huge party anthem and with plenty of that alternative charm to really stand out. GOING TO MARS is an easy highlight, and honestly, the very best way to bring this album to a memorable finish.
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